The artistic performance of a stage actor is definitely presented to the public by the actor in person; that of the screen actor, ...however, is presented by a camera, with a twofold consequence. The camera that presents the performance of the film actor to the public need not respect the performance as an integral whole. Guided by the cameraman, the camera continually changes its position with respect to the performance. The sequence of positional views which the editor composes from the material supplied him constitutes the completed film. It comprises certain factors of movement which are in reality those of the camera, not to mention special camera angles, close-ups, etc.... Also, the film actor lacks the opportunity of the stage actor to adjust to the audience during his performance, since he does not present his performance to the audience in person. This permits the audience to take the position of a critic, without experiencing any personal contact with the actor. The audience's identification with the actor is really an identification with the camera.LESSATTRIBUTION DETAIL »

The child's mind is much more public property than the adult's. What troubles the child is shared with his family, his teachers an...d school chums. That is to say, the child is going through the educational process of acquiring a "personality" (and, alas, neurosis) while the adult has likely forgotten all the trials--at home or outside--that contributed to the later pain or tension bringing him to analysis. Put differently, the adult is troubled but usually can't "remember" the exact sequence of events that are responsible for the trouble. The child often will describe quite readily what is happening about him, but may well not consider himself suffering or in danger--it is his parents or teachers who are concerned.LESSATTRIBUTION DETAIL »

High culture is nothing but a child of that European perversion called history, the obsession we have with going forward, with con...sidering the sequence of generations a relay race in which everyone surpasses his predecessor, only to be surpassed by his successor. Without this relay race called history there would be no European art and what characterizes it: a longing for originality, a longing for change. Robespierre, Napoleon, Beethoven, Stalin, Picasso, they're all runners in the relay race, they all belong to the same stadium.LESSATTRIBUTION DETAIL »

It is impossible to dissociate language from science or science from language, because every natural science always involves three... things: the sequence of phenomena on which the science is based; the abstract concepts which call these phenomena to mind; and the words in which the concepts are expressed. To call forth a concept, a word is needed; to portray a phenomenon, a concept is needed. All three mirror one and the same reality.LESSATTRIBUTION DETAIL »

Now life is the only art that we are required to practice without preparation, and without being allowed the preliminary trials, t...he failures and botches, that are essential for the training of a mere beginner. In life, we must begin to give a public performance before we have acquired even a novice's skill; and often our moments of seeming mastery are upset by new demands, for which we have acquired no preparatory facility. Life is a score that we play at sight, not merely before we have divined the intentions of the composer, but even before we have mastered our instruments; even worse, a large part of the score has been only roughly indicated, and we must improvise the music for our particular instrument, over long passages. On these terms, the whole operation seems one of endless difficulty and frustration; and indeed, were it not for the fact that some of the passages have been played so often by our predecessors that, when we come to them, we seem to recall some of the score and can anticipate the natural sequence of the notes, we might often give up in sheer despair. The wonder is not that so much cacophony appears in our actual individual lives, but that there is any appearance of harmony and progression.LESSATTRIBUTION DETAIL »

The way in which the photograph records experience is also different from the way of language. Language makes sense only when it i...s presented as a sequence of propositions. Meaning is distorted when a word or sentence is, as we say, taken out of context; when a reader or listener is deprived of what was said before, and after. But there is no such thing as a photograph taken out of context, for a photograph does not require one. In fact, the point of photography is to isolate images from context, so as to make them visible in a different way.LESSATTRIBUTION DETAIL »

The Indians feel that each stage is crucial and that the child should be allowed to dwell in each for the appropriate period of ti...me so that every aspect of his being can evolve, just as a plant evolves in the proper time and sequence of the seasons. Otherwise, the child never has a chance to master himself in any one phase of his life.LESSATTRIBUTION DETAIL »

In general a thing is romantic when, as Aristotle would say, it is wonderful rather than probable; in other words, when it violate...s the normal sequence of cause and effect in favor of adventure. Here is the fundamental contrast between the words classic and romantic which meets us at the outset and in some form or other persists in all uses of the word down to the present day. A thing is romantic when it is strange, unexpected, intense, superlative, extreme, unique, etc. A thing is classical, on the other hand, when it is not unique, but representative of a class. In this sense, medical men may speak correctly of a classic case of typhoid fever, or a classic case of hysteria. One is even justified in speaking of a classic example of romanticism. By an easy extension of meaning a thing is classical when it belongs to a high class or to the best class.LESSATTRIBUTION DETAIL »

When we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in ou...r imagination. The sequence of pictures plays directly on our feelings. Music works in the same fashion; I would say that there is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. And film is mainly rhythm; it is inhalation and exhalation in continuous sequence. Ever since childhood, music has been my great source of recreation and stimulation, and I often experience a film or play musically.LESSATTRIBUTION DETAIL »

Homer sweeps us away by the irresistible movement of lines through a whole passage to a splendid climax. What counts is the single...ness of his effect, the unbroken maintenance of a heroic or tragic mood, the concentration on some action vividly imagined and clearly portrayed without irrelevance or second thoughts or even those hints that lure into bypaths of fancy and suggest that there is more in the words than is obvious at first sight. But in Virgil, great though the paragraphs are, compelling though the climax is when it is reached, we are more concerned with the details, with each small effect and each deftly placed word, than with the whole. We linger over the richness of single phrases, over the "pathetic half-lines," over the precision or potency with which a word illuminates a sentence or a happy sequence of sounds imparts an inexplicable charm to something that might otherwise have been trivial. Of course, Homer has his magical phrases and Virgil his bold effects, but the distinction stands. It is a matter of composition, of art, and it marks the real difference between the two kinds of epic, which are not so much "authentic" and "literary" as oral and written.LESSATTRIBUTION DETAIL »